On a quest for emotional peace and grappling with the question “could anything more have been done,” indie rocker Alan Zreczny and his Chicago-based band bluefront deliver this, their newest single and video “High Time” — available now.
“I think the song is about me reaching for an emotional space I have rarely, if ever, achieved,” Zreczny reveals of the song and its inspiration. “Although it was written with a relationship in mind, for me, it could apply whenever there comes a time — sometimes far too long in the making — where a certain kind of peace is achieved.
“It’s definitely not a comfortable kind of peace,” he continues. “But there is resolve, there is determination, and that feels ‘good’ in that there is a certain understanding that, although the emotional repercussions could be dreadful, it’s okay. And now things are clear.
“It’s the thinking that: I have exhausted all avenues that could possibly have been travelled in order to make something work, and we are at the end of whatever it is. It’s really ‘it’ — it’s ‘High Time’ because I have nothing left.
“Your move…”
That said, Zreczny is the first to admit the concept may be a mountain climb of his own making. “The truth is,” he shares, “I’m not sure if ‘High Time’ is a testament to the fact that I actually got there at that time, or if it was just me projecting where I wanted to be.
“Maybe I wrote the song as a way to say I was there, and hopefully I would catch up with the song? That remains unclear…
“But what is clear is the ideal of being comfortable in the discomfort of whatever happens next.”
The latest to land from bluefront’s sophomore album offering, Aftershocks, “High Time” follows previous singles “It’s Not Over Yet,” and the release’s title track, “Aftershocks.”
Released in 2019, the seven-track LP registers on its own Richter scale with shimmering melodies and intricate instrumentation deftly demonstrated by Zreczny, alongside bandmates Jason Steele, Nick Kabat, and Mark Burns.
Zreczny and bluefront have performed at Uncommon Ground, The Elbo Room, The Gallery Cabaret, The Red Line Tap, Old Town Art Fair, Subterranean, The House Cafe, and The Cubby Bear, among others, and appeared on WGN Radio and the Chicago Acoustic Underground podcast.
Aftershocks was recorded at Electrical Audio by Scott Steinman, mixed at GardenView Sound Studio by Scott Steinman for Studiomedia Recording, and mastered by Matthew Barnhart at Chicago Mastering Services; it follows Zreczny’s debut, The Arbor Sessions.
Psychedelic rocker Ethan Larsh is set to take audiences on an audible odyssey with this, his latest conception “The Emperor.”
The title track from the Frederick, Maryland-based artist’s forthcoming sophomore album, The Emperor, the single immediately pulls you in with its enthralling riffs and bass line before bringing you to your knees with the resounding force of the organ’s emphatic tone.
The pounding drums march along with the melodies to effectively usher in the message of “The Emperor.” Instrumentally, you’re reminded of and drawn towards what made legends — such as Hawkwind, Iron Butterfly and Deep Purple… All titans of the psychedelic rock genre. As such, the song’s nuanced lyrical restraint serves as a potent allegory to the conceptual foundation of the song itself.
At a runtime of three-minutes-twenty-two seconds in length, the track offers a more succinct experience for modern listeners to digest. The ‘less-is-more’ approach presented by Larsh is delectable and contrasts with the oftentimes girthy and grandiose opuses from the genre’s heyday. It doesn’t overstay its welcome; it leaves you wanting more!
The conception of “The Emperor,” Larsh reveals, came about as a stream-of-consciousness experience brought into existence through a jam session between himself and his drummer, Tim Weller.
“I quickly wrote down the lyrics and, within twenty minutes, the song was finished,” Larsh shares. “I follow The Mountain Goats’ John Darnielle’s philosophy when he wrote his masterpiece, All Hail West Texas; according to that philosophy, in those days, a song got exactly one day in which to either resolve its issues, or be cast forth from the company of its brethren.”
When describing the video for “The Emperor,” Larsh states his own personal philosophy was the opposite: the video, in his words, was meticulously planned, with fast food crowns, cartoonish over-sized animal masks, and pizza. Done in a one-take style, the operating budget for the video was approximately $50.00, yet shaped up to be both a captivating and entertaining experience. The video is complete with animations to accentuate the psychedelia and surrealism the single was intended to convey.
“The Emperor” features Ethan Larsh on vocals and guitar, accompanied by bandmates Sam Silbert on bass, organ and synths, as well as Tim Weller on drums. It was recorded at Echoes Studios and Johanna Baumann’s home studio. Sam Silbert is credited for mixing and Harold LaRue for mastering.
The single will be included on the album of the same name later this year, and follows his 2017 breakthrough debut, Ethan Larsh Breaks Hearts.
Canadian pop-punk skate-rockers Moore Ave Underground usher audiences into their dreamscapes with the release of this, their new single “6 Feet” — available now.
The song’s inspiration stems from a subliminal vision band member Josh Gaudette had where his dad was dying, the band — which also includes Josh’s brothers Joseph and Jack, as well as Shawn MacDonald — shares.
“Essentially, he was giving me his last words, and pieces of advice to take with me into the future,” Josh continues. “But with my dad still being alive and well, it was even weirder for me being at his bedside as he was ailing within the dream. Even more disturbing was receiving the call that he was gone…
“In the dream, it all seemed so real,” he adds. “It made me feel super creeped out, and the whole experience of writing the song had this super creepy vibe to it, as well. I think that comes through in the track.”
“We originally had more of a cinematic storyline planned for this video, but Covid had other plans,” Shawn reveals; he also directed the flick.
But they made-do, deciding “to make the best out of a less-than-ideal situation,” Joseph adds, “and used our resources to the fullest.”
“The whole video was shot in our home — the Underground,” Jack picks up, name checking the band’s title and ethos all in one. “And it helps to have a drummer that doubles as a director!”
As for that band title and ethos, Moore Ave Underground is more than what meets the eye.
“Moore Ave Underground refers to our family home’s basement,” Josh says. “When I took up music, the basement was already filled with a foosball table, a hockey table, and a bar that no one ever used. We convinced my mom and dad to make some hard choices, and ended up bidding a fond farewell to it all in order to make room for instruments.
“It became something special,” he continues. “Soon, friends, family and contributors started coming and going and creating. We have witnessed those who never believed their musical ability was possible grow into accomplished performers.
“Today, this is the goal: to provide a platform for talent, and encourage, inspire and see artists of any kinds and all ages realize their potential. For us, the motivation is to offer a window to the world that shows the talents and gifts we are blessed to see and be a part of every day.”
What that ultimately looks like is a lengthy series of single releases — including 2020’s “Beanies and Plaid Jackets,” “How You’ve Grown,” and “What’s Done” — and a debut EP, 2019’s It’s All in my Head; in addition to releasing “6 Feet,” the band are currently finishing up their forthcoming full-length.
“When we reflect on what Moore Ave is — both in what we are about, and what our moral codes and values are — there’s always one thing we’ve always been passionate about: equality,” Joseph says. “Since we could think for ourselves, there’s one thing all of us have strived for, and that’s acceptance.”
“For us, it doesn’t matter how you act, who you are, or what you look like,” Shawn adds. “No matter what, there’s a place for you to be yourself in the Underground.”
“Our house show motto is ‘everybody loves everybody,’ and it’s heavily enforced,” Jack underscores. “We think kindness towards each other is extremely important, and something we, as a band, do not take for granted.”
See also: how a bad dream of a father’s passing inspires a great song all its own.
Farm Aid announced today that Grammy-nominated artist Margo Price and lifelong humanitarian and advocate for family farmers Annie Nelson have joined its Board of Directors.
Via unanimous vote, Price and Nelson will work alongside founders Willie Nelson, Neil Young and John Mellencamp, artist board member Dave Matthews, and six industry professionals and family farm supporters.
Price and Nelson join a committed board that has steered Farm Aid for 35 years, hosting a unique annual festival to galvanize support for family farmers, organizing against corporate consolidation, deploying funds and resources to strengthen farm families facing ongoing challenges, and nurturing a cultural movement that values the people who bring good food to our tables. Farm Aid stays true to its founding values and traditions; for example, Farm Aid President Willie Nelson signs every grant check distributed by the organization to its nonprofit partners, and the organization keeps its ear to the ground, listening to a group of farmers from diverse backgrounds who care for the soil and water.
Price grew up in Illinois on her family farm before she witnessed its loss in the Farm Crisis that inspired the first Farm Aid concert. Price has been a staunch advocate for Farm Aid’s mission long before her first performance at Farm Aid 2016 in Bristow, Virginia. She has not missed a Farm Aid festival since, and this past year, she joined Dave Matthews to announce Farm Aid 2020 on Good Morning America. Price is the second artist to be added to Farm Aid’s Board of Directors after its original founding, following Dave Matthews’ appointment in 2001.
“It is always a thrill to perform alongside my heroes on the Farm Aid stage, and it is one of the greatest honors of my life to become a member of the Farm Aid board,” said Price. “It’s been a dream of mine to help family farmers and communities across America ever since my family lost their farm in the fall of 1984 — a year before the first Farm Aid concert. I hope to use my voice to shine light on the issues of climate change, our health and the health of our soil and water, and most importantly, food justice.”
Annie Nelson — who met husband Willie Nelson shortly after the first Farm Aid concert in 1985 — has served an integral role in the annual Farm Aid music and food festival. She has worked for decades to stand up for family farm agriculture and create opportunities for local, independent farmers, and she is an activist on many issues that positively impact America’s family farmers.
“I am honored to join Willie and the other members on Farm Aid’s Board of Directors,” said Nelson. “I’ve witnessed the incredible strength and resilience of America’s family farmers through my involvement in Farm Aid, and I am eager to continue to help our family farm system thrive through this new role.”
Farm Aid’s mission is to build a vibrant, family farm-centered system of agriculture in America. Farm Aid artists and board members Willie Nelson, Neil Young, John Mellencamp and Dave Matthews host an annual festival to raise funds to support Farm Aid’s work with family farmers and to inspire people to choose family farm food. For more than 35 years, Farm Aid, with the support of the artists who contribute their performances each year, has raised more than $60 million to support programs that help farmers thrive, expand the reach of the Good Food Movement, take action to change the dominant system of industrial agriculture and promote food from family farms.
Inkbox, the brand behind the world’s leading semi-permanent tattoo technology, announced its latest partnership with global superstars, BTS. The new collection invites customers around the world to connect with the beloved 21st century pop icons like never before, introducing special tattoo designs inspired by the Grammy-nominated single, “Dynamite.” The debut collection kicks off a year-long partnership with HYBE IP, with more special edition drops coming soon. To sign up now for the virtual waitlist, visit https://inkbox.com/g/bts-waitlist.
Joining Inkbox’s impressive roster of collaborations, the latest collection designed with BTS inspires a new wave of creativity and connection all over the world. Shoppers are invited to explore 11 special temporary tattoos channeling the energetic pop-disco vibe of “Dynamite”. Customers will be able to spot iconic elements from the single’s artwork, with designs featuring retro flowers, shooting stars, the recognizable “Dynamite” sign, and seven unique silhouettes starring each band member. As a bonus “gift” to enthusiastic shoppers, every order will include 1 of 3 special edition 8×10 “Dynamite” collectible prints, inserted in the specially designed BTS packaging (sourced from 100% sustainable materials). Individual tattoos in the collection retail for $16–$20 USD, with the complete set available for purchase at $130 USD.
The BTS Dynamite collection will be available to shop starting Apr 14, shipping worldwide from www.inkbox.com.
With its distinctive 16-notes-to-the-bar bassline and unashamedly honky sax solo (played on two saxes at once), Ian Dury and the Blockheads’ “Hit Me with Your Rhythm Stick” was named the 12th best single of 1978 by the writers of British music magazine NME, and best single of 1979 in the annual ‘Pazz & Jop’ poll organised by music critic Robert Christgau in The Village Voice. It was also named the 3rd best post-punk 7″ ever made by Fact magazine. By September 2017, it had sold over 1.29 million copies in the UK, making it the 114th biggest selling single of all time in the UK.
55 years ago this week, The Beatles entered EMI Abbey Road Studios for what would arguably be the most revolutionary week of their recording career. Working closely with their beloved producer George Martin and an eager young EMI engineer named Geoff Emerick, the band developed a slew of innovative new techniques that would forever change their sound and the sound of pop music.
The song “Rain”, born out of these sessions and released as the B-side to Paperback Writer in mid-1966, would be the world’s first glimpse into the brilliant new ideas and sounds that burst forth on the landmark Revolver album in August 1966.
Canadian composer Rob McAllister’s ambient, neoclassical project Music Within is set to soothe thoughts and ease minds with his new, dream-like single, “Reverie.”
Like watching the sun set upon a quiet hilltop on a summer night, “Reverie” is a tranquil, relaxing, and beautifully mellow composition. Featuring the arrangement of soft, gradual piano keystrokes adjoined with the alleviating reverb of the synthesizer, “Reverie” rounds out with warming strums of an electric guitar.
The resulting dreamy sound flows through ears with ease, settling in the crevices of minds, and instilling audiences with a sense of peace. “Within you, there’s a place of escape; a place to reflect, reminisce and wonder; a place that’s all your own,” he expresses. “I hope this music might offer an escape for those experiencing a difficult time right now.”
The single will be appearing on his upcoming album, Finding Stillness II — a continuation of 2018’s Finding Stillness — which embodies the same calming, meditative atmosphere as its previous counterpart.
It’s a natural direction for the Toronto-based artist, and one that’s connecting with audiences deeply; his Spotify streams sit at upwards of 2.2 Million+ alone.
From his roots as a classically trained multi-instrumentalist, along with his experience as a modern classical composer, McAllister has developed a keen gift to create impassioned music which can speak to his audience’s souls without the use of words. His contributions as a television and film score composer (having recently co-scored the soundtrack to the Town of Widows documentary) have only enriched his ability to connect even deeper with a listener’s emotions.
“Reverie” was written and performed by Music Within in Toronto, Ontario. The single was engineered, produced and mixed by Rob McAllister with mastering handled by Justin Gray.
British alt-folk, alt-Americana ‘Indie for Grownups’ act Wonders of the Yukon are at it again with this, the release of their new single, “Rachel (And All The Goofs And The Stars)” — available now.
Just when you think you’re on the right path and have this folk-noir duo all sussed out, they come right back at you with their unnerving and unsettling existential commentaries, returning you to that feeling of not quite knowing where you stand.
It’s like: You’re in a familiar place, looking at something or someone you know like the back of your hand.
But…
Your head is cocked to one side. Staring intently. A furrowed-brow with lips slightly parted. A quizzical, marginally pained expression on your face.
Because that seemingly familiar image is different in a way you can’t quite put your finger on.
And your thoughts are racing, asking yourself ‘is that my imagination or is there an unseen darkness lurking deep within?’
And so it is with “Rachel (And All The Goofs And The Stars),” out now via Wonders of the Yukon’s own label, Wounded Wolf.
Continuing the bands exploration into northern English sentimentality and the darker side of American culture, this new offering fizzes with indie-pop guitars, driving bass, and pounding beats; it’s been described as Power Pop meets Americana — or Powerpop-icana to coin a phrase.
Musically, it is as different to previous release, “Every Once In A While,” as it can be, but lyrically, is another masterful example of layers and hidden meaning.
“It’s a simple lyric designed to make you think,” co-front Andy Campbell, who takes over lead vocal duties on this track, explains. “In essence, it’s just a love story with a question mark hanging over who exactly the recipient of the love is.”
He’s not wrong.
There is a real sense of destabilisation here; a twisted reality, really. Is this a tale of small-town drama, or one of a seductive temptress?
On the surface, audiences seem to be accompanying Campbell on a road-trip to hook up with his girl; ‘I’m on my way to Rachel,’ he sings in the opening line. And that he’s ‘speeding in [his] rental’ suggests the urgency he feels to be reacquainted with his love.
But hang-on a minute: He follows with ‘…and they’re forming a queue.’ Sorry? Who are? And why are they? Exactly what type of girl is this Rachel that Campbell seems so smitten with?
And that’s when you remember that this is Wonders of the Yukon, and of course there’s a double meaning here. As Campbell elucidates, ‘think Area 51, think conspiracy theories, think ‘the truth is out there’. Imagine you are so desperate for answers; it’s a passion — a lust, even — and it borders on unrequited love.
“So, that’s that then,” co-front Dave Langdale adds. “It’s just a tale of a guy driving to the desert to do a bit of UFO spotting.”
And with that, we’re back on track: Yes, there’s a simple double-meaning here, but it’s just me confusing objects of affection. Wonders of the Yukon are not messing with my head this time. I do know where I stand. I do have it sussed.
And then, mischief etched all over his face, Langdale offers, “I’m guessing you’ve seen the video? That’ll help you get to grips with it all.”
Ah, of course.
The video. The visual explanation of the lyrical narrative. What better way to establish the true meaning behind the song.
Developed by up-and-coming graphic artist 44skulls, the story takes audiences on a rapid journey through the production of a range of striking and highly arresting visual stills. There is a real feeling of movement, vibrancy, and playfulness which compliments the subject matter perfectly. It also offers an additional artistic dimension to the band as we move away from the brutalist surrealism and black, white and red colour palette of previous Wonders of the Yukon releases to one of cartoonish graphics and vividly neon hues.
“It adds to the band image we’ve established over previous releases,” Langdale says. “The US road trip, the wide-open vistas, the coupling of English eccentricity with the American dream…
“And, of course, WOTY appears in there a number of times too.”
WOTY refers to the band mascot: A character created from a stencilled outline of a guitar pick-guard spray-painting job. “He’s appeared in the last three videos since being ‘born’ in the video to ‘Cartoon Dreams,’” Campbell says. “And it’s certain he’ll continue to appear in the videos to forthcoming releases.”
“I feel like it’s definitely the way to go,” he adds, referencing the change of direction in the video. “I’ve always loved and wanted to incorporate a more graphical and colourful angle into the band imagery. I love the work of 44skulls. It fits perfectly for me.”
Back to the video narrative, it’s all so simple isn’t it? A desert landscape. A road trip through the American West. The mountainous scenery, the long, straight roads, the plaid shirts and the classic VDubs.
And yes, here he is. Our narrator… Capped, tattooed and bearded. Ready to complete his journey to his Rachel, whether that be temptress or township.
And now he’s an alien…
And now the landscape looks like a still from a Sci-Fi movie…
And now he’s in space….
And now he’s driving a moon buggy….
And now, once more, I’m not sure what the heck is going on, and what I’m supposed to think.
Wonders of the Yukon are at it again. The world is not what I thought it was.
